The size of the head is sufficiently small to leave that predominance to the vital organs in the chest, which, as already said, makes the nutritive system peculiarly that of woman. This is the first and most striking proof of the profound knowledge of the artist, the principles of whose art taught him that the vast head, on the contrary, was the characteristic of a very different female personage.[50]—In mentioning the head, it is scarcely possible to avoid noticing the rich curls of the hair.
The eyes next fix our attention by their soft, sweet, and glad expression. This is produced with exquisite art. To give softness, the ridges of the eyebrows are rounded. To give sweetness, the under eyelid, which I would call the expressive one, is slightly raised. “The eyes of Venus,” says Winckelmann, “are smaller, and the slight elevation of the lower eyelid produces that languishing look called by the Greeks ὑγρὸν.” To give the expression of gladness or of pleasure, the opening of the eyelids is diminished, in order to diminish, or partially to exclude, the excess of those impressions, which make even pleasure painful. Other exquisite details about those eyes, confer on them unparalleled beauty. Still, as observed by the same writer, this look is far from those traits indicative of lasciviousness, with which some modern artists have thought to characterize their Venuses. Love was considered by the ancient masters, as by the wise philosophers of those times, to use the expression of Euripides, as the counsellor of wisdom: τῆ σοφία παρέδρους ἔρωτας. One thing must be observed: there is not here, as in some less happy representations of Venus, any downcast look, but that aspect of which Metastasio, in his Inno a Venere, says:
“Tu colle lucide
Pupille chiare,
Fai lieta e fertile
La terra e’l mare.”
And again:
“Presto à tuoi placidi
Astri ridenti,
Le nubi fuggono,
Fuggono i venti.”[51]
Art still profounder was perhaps shown in the configuration of the nose. The peculiar connexion of this sense with love was evidently well understood by the great artist; and it is only gross ignorance that has made some persons question the appropriateness of that development of the organ which is here represented. Not only is smell peculiarly associated with love, in all the higher animals, but it is associated with reproduction in plants, the majority of which evolve delicious odors only when the flowers or organs of fructification are displayed.[52]—Connected, indeed, with the capacity of the nose, and the cavities which open into it, is the projection of the whole middle part of the face.
In the mouth, also, is transcendent art displayed. It is rendered sweet and delicate by the lips being undeveloped at their angles,[53] and by the upper lip continuing so, for a considerable portion of its length. It expresses love of pleasure by the central development of both lips, and active love by the especial development of the lower lip.[54] By the slight opening of the lips, it expresses desire.[55]
These exquisite details, and the omission of nothing intellectually expressive that nature presents, have led some to imagine the Venus de Medici to be a portrait. In doing so, however, they see not the profound calculation required for nearly every feature thus imbodied. More strangely still, they forget the ideal character of the whole: the notion of this ideal head being too small, is especially opposed to such an opinion. If more is wanting, it will surely be enough that the other works which we are supposed to possess of Praxiteles, the Faun and the Cupid, present similar fine details.[56]
Withal, the look is amorous and languishing, without being lascivious, and is as powerfully marked by gay coquetry, as by charming innocence.
The young neck is exquisitely formed. Its beautiful curves show a thousand capabilities of motion; and its admirably-calculated swell over the organ of voice, results from, and marks, the struggling expression of still mysterious love.